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Is this a common cadence? Are there other cadences without a raised 7th in baroque music? What are the rules to this? I can’t think of any examples off the top of my head, although I have heard this cadence before – it minut fairly typical for two voices.
The constraint to two voices means that some part of the the standard perfect cadence is going to be dropped.
Johan Krieger – Menuet
The use of the lower octave of E in the penultimate bar is also typical – it has a centering effect on the tonic. Krieger doesn’t need to state the leading tone outright as he has used it and left it hanging in m. There is a delayed resolution implied here.
As far as your question asks about “other cadences without a raised 7th in baroque music”, I would be remiss if I failed to mention the Phrygian Cadence, which was often used at the end of slow movements in minor keys.
Although it’s typically analyzed as a iv 6 -V e. In this analysis, the bass descends to the “tonic” by a half-step, forming an upper leading tone, while an upper voice ascends to the “tonic” by a whole step. I’ll leave it for further elaboration for the OP. From studying counterpoint in the style of Palestrina years ago, this cadence is sufficient.
I imagine that it would therefore be sufficient for Baroque as well. For the lower voice: Although the final note before the cadence in the lower voice is a rising fourth rather than descending fifth, the note previous to this is in fact a falling fifth motion. In this example, I’d consider the 2nd beat E to 1st beat A to be the functional perfect authentic cadence in the bass the lower E would be considered an “embellishment” in a way.
For the upper voice: It isn’t required for the tonic to be approached by the 7th in order to be considered a perfect authentic cadence.
Johan Krieger – Menuet sheet music download free in PDF or MIDI
Home Questions Tags Users Unanswered. Counterpoint without a leading tone? Nick of Music nohann. I’m presuming you mean this minuet: Okay so it just needs to have some unresolved ti’s and then a do at the end?
When I was looking at counterpoint, you were always supposed to have one voice going re do and one voice doing ti do. Is that also a non-perfect cadence because it doesn’t use the 5th? This isn’t species counterpoint; it’s rather more pragmatic, and less conjunct. In this particular case, the perfect cadence is implied by the descent through re, the sol-do bass line, and the resolution of ti.
The relatively disjunct movement that Krieger used here means that there is a strong suggestion of compound melody when ti is left hanging. In such a case, the note acts quite a bit like it has been sustained until a note in the same register continues the motion in that register. The point here is that this is not Renaissance polyphony which is what species counterpoint kriegeer withit’s Baroque harmonic writing in a two-part framework.
In a two-part framework, that means there will be a certain amount of broken chord writing, a certain amount of compound melody, to imply the voices that are being omitted.
Look at Bach’s Inventions for more examples. The half note in the bass part in bars 7, 15, 23, etc is a mistake, yes?
baroque period – Counterpoint without a leading tone? – Music: Practice & Theory Stack Exchange
Codeswitcher, nope, just older notation, no rests. The upper note is held while the lower octave sounds. Yeah, and lest we both forget, plagal cadences also lack the lower leading tone. Yeah, the octave bounce on 5 in the bass is pretty standard as well.
The upper E in the bass krieegr sustained, btw – I held on to the original edition’s notation in this transcription although I substituted a treble clef for the RH’s soprano clef.
Ascending fourths are common enough in perfect cadences: Patrx2 would you be able to provide an example of where an ascending fourth used in a perfect authentic cadence was necessary? You’ll see a couple in the Froberger suite I referenced.
The first half of the Allemande ends with a perfect cadence on the relative major. In this case, you could, perhaps, argue that he had no need to bounce the root of the dominant to a lower octave, but that is the centering motion I mentioned in my answer.
Having done so, he needed to state the tonic up a fourth to bring everything beneath the hands. The bass of the very last cadence of the Sarabande and the suite also rises a fourth.
Here there is no bouncing bass, just the requirements of fingering. I should say that the requirements of the last cadence in the Sarabande are both voice minue and fingering.
6 Musikalische Partien (Krieger, Johann)
The delayed octave of the tonic root in the last bar is outside the 4-voice framework. Sign up or log in Sign up using Google.